A wilderness of mirrors: The Hegemon’s Last War 24 September 2024 by Pepe Escobar 12 Comments Andrei Martyanov has carved for himself a unique, haloed place when it comes to deep critical thinking of all matters of war and peace. In his previous books, in his blog Reminiscence of the Future and in countless podcasts, he has become the go-to source when it comes to the inner workings of the Special Military Operation (SMO) in Ukraine as well as The Big Picture of the proxy war between the U.S. and its collective West minions against Russia. Naturally every new book by this delightful human being with a biting sense of humor is something to cherish – and this one, America’s Final War, the fourth in a series, should be seen as the crowning achievement in his carefully detailed analysis of a real revolution in military affairs that has completely bypassed the “indispensable nation.” Right off the bat, Martyanov addresses Russophobia – and how this overwhelming, Western-wide pathology “of a much larger scale than mere geopolitical contradictions between nations and states” is “taking on a metaphysical dimension, rising from its racial, religious, and cultural components”. Russophobia has only been exacerbated by unpleasant facts on the ground concerning the “Real Revolution in Military Affairs”: a true “paradigm shift” in warfare. Already in the preface, Martyanov outlines the state of things as we speak, or what I have recently defined as a War OF Terror: “The current U.S. economy and military will not be able to fight Russia conventionally; it would face defeat if it tried. So, the United States and combined West have resorted to terrorism”. Add to it that concerning the ongoing proxy clashes, “NATO is incapable of fighting a real war of the 21st century”. And even the U.S.’s “shortly to be overcome superiority in satellite constellations and NATO’s ability to fly with impunity in the international air space over Black Sea counts for little in real war, in which NATO would be made blind and its Command and Control disrupted.” “The best strategic assessment apparatus in the world” Martyanov engages in a necessary rewind to the situation pre- SMO, in late 2021, when the AFU was massing on the borders of Donetsk and Lugansk: “In a last-ditch attempt to avoid military confrontation with what at that time amounted to the best U.S. (and West) proxy force in history – trained and equipped with many critical C4 elements” – Russia presented the U.S. on December 15, 2021 with what Martyanov describes as a “diplomatic euphemism for demands” on Washington on mutual security guarantees: that was the notorious “indivisibility of security” proposal for Europe and the post-Soviet space. Martyanov is correct in evaluating that this was not exactly groundbreaking; it was “a reiteration of the same points which Russia had insisted upon since the 1990s”. The crucial point was of course non-expansion of NATO, specifically applied to Ukraine, “which since 2013 was becoming in effect NATO’s forward operational base.” That was Putin’s diplomatic gambit to prevent war. After all Russia’s political-military establishment had seen which way the dogs of war were barking, and were able to forecast “based on the superb intelligence and arguably the best strategic assessment apparatus in the world – the Russian General Staff, Service of Foreign Intelligence (SVR), FSB and Ministry of Foreign Affairs.” Moving on down the road, what is now developing in the black soil of Novorossiya – NATO’s impeding humiliation – could not have possibly be understood as “the captains of the combined West” are essentially uber-incompetent: “Western academic and analytic institutions” not only are “not designed” to think strategically in terms of global balance of power and matters of war and peace but clueless on “Statecraft as Art of Governance and Military Art”. Russia, in contrast, applied creative governance that “manifested itself as an art”, not least through “forecasting and forestalling” NATO’s moves, “but specially so in the military and economic preparation” for the clash, “including through the process of constant adaptation to changing external and internal conditions”. Let’s call it a military art counterpart to the geoconomic intuition by Deng Xiaoping of “crossing the river while feeling the stones”. Martyanov characterizes the proxy war in Ukraine as a Stupidistan spectacular: “Considering a mediocre at best, at worst non-existent military-engineering background of the most influential actors in Biden’s administration, the difference between starting a war in Vietnam or Iraq, and starting a war on Russia’s threshold (…) was lost on them” – as they failed to realize that “Russia was a military superpower with an extremely advanced ISR (Intelligence, Surveillance and Reconnaissance) complex”. Martyanov correctly dates the dramatic “descent” of the U.S. “from the pedestal of self-proclaimed military hegemony” to the sabotaging of the April 2022 Istanbul agreement – which was on the verge of being signed – when Boris Johnson, “a major in classics from Oxford and a clownish figure with zero grasp of military art, let alone science”, botched it on the orders of the Biden combo. Going Hypersonic A highlight of the book is when Martyanov registers the American bewilderment when it comes to high supersonic missiles such as the Kh-32 and especially the hypersonic, Mach-10, Mr. Khinzal – as he had been warning for years in his books and blog that Hypersonic Russia “would render any NATO’s air defenses useless in any serious conflict”. Cue, for instance, to 2018 when he outlined that “Khinzal’s astonishing range of 2,000 kilometers makes the carriers of such missile, MiG-31K and TU-22M3M aircraft, invulnerable to the only defense a U.S. Carrier Battle Group, a main pillar of U.S. naval power, can mount.” As the SMO developed, “Russia dramatically ramped up production across the whole spectrum of its missile arsenal”: from the RS-28 Sarmat, which carries the strategic hypersonic Avangard, to “tactical-operational Iskanders, P-800 Oniks, hypersonic 3M22 Zircons, 3M14(M) ship and submarine cruise missiles”, and of course Mr. Khinzal himself. For NATO’s ISR complex things can only get worse, because the Khinzal is now carried by Su-34 fighter bombers, “which makes the work of identifying which ones are Khinzal carriers very difficult and leaves no time for warning”. A crucial theme in the book is the relationship between the Hegemon and war: “The U.S. is not just an expeditionary military, it is also imperial military which fights imperial wars of conquest and doesn’t address the concept of defense of a Mother – or Fatherland in its strategic and operational documents”. The conclusion is stark: “Thus it cannot fight a real conventional combined war of scale against a peer or better-than-peer opponent who fights in defense of their own country.” Implicit in this concise explanation of the U.S./NATO debacle in Novorossiya is the disproportionate power of the U.S. industrial-military complex: “The U.S. military doesn’t fight in defense of America, it fights for imperial conquests only. Russian soldiers fight in defense of their homeland.” U.S. conventional military supremacy: a bluff Martyanov once again details how a real revolution in military affairs is already taking place. From facts on the sea like the ominous Poseidon submarine – “capable to not only devastate shores but hunt down any carrier battle group with impunity” – to the immense gap in “capacity of tools of destruction” between Russia and NATO, complete with “the operational concepts that gave birth to these weapons systems.” On the inescapable face-off between Russia and the combined West, led by the U.S., Martyanov hits the heart of the matter. It is already global, and “spreads into all domains from the world ocean to space, and encompasses not just military but also related economic, financial and industrial capacities.” And that, crucially, was the initial operating framework of the SMO. Yet now it’s all evolving into a toxic mix of counter-terror operation and Hot War, potentially more lethal than Cold War 2.0. At this point in the book, Martyanov goes for the kill, asserting that as facts develop, “the much-propagandized U.S. conventional military supremacy is nothing but a bluff.” The Hegemon cannot “fight a peer or better than peer opponent and win such a fight”. Apart from an absolute freak out among Brzezinski epigones, one can imagine the desperation among the handful of neo-cons equipped to understand at least a simple mathematical equation. The only auspicious angle in all this turmoil is the apparent unwillingness by the War Party in the U.S. to “enter into open confrontation with Russia.” Yet what remains is as ghastly as a Hot War: the hybrid War OF Terror – as illustrated by the green light for Kiev to indiscriminately attack civilians inside the Russian Federation. As the book comes to a close, it would have to inevitably circle back to Russophobia: “Russia’s military record is telling – it has consistently defeated the best the West could throw at it when it mattered.” That’s a source of envy mixed with fear. Moreover, Russia remained Orthodox Christian, which only adds to the unmitigated hatred displayed by collective West elites. Martyanov comes up with a precious, concise formulation: “Especially after Trotsky has been exorcised by Stalin”, Russia ended up evolving into “a society with primarily conservative values”, very much derived from Orthodox Christianism, which crucially is part of a “non-Crusader historical ethos”. Whatever happens next, Russophobia simply won’t get erased from the Anglo-American “elite” worldview: “Russia in the form of the Soviet Union defeated the best West’s military force in history and a simple fact of the West’s efforts to rewrite this history by claiming the victory as theirs without acknowledgment of the USSR’s greater role reveals not only an ideological agenda and shoddy scholarship, but a deep lasting trauma.” The trauma persists and now has metastasized into a New Dementia Cycle – exemplified by the current War OF Terror and NATO’s plans to actually attempt an Operation Barbarrossa remix by 2030, all that while NATO’s “geopolitical humiliation remains a secret only for the most unsophisticated strata of the Western public.” That’s a diplomatic way of characterizing the relentless brainwashing and imbecilization of the post-modernist, post-Christian collective West. In Roman Empire days, Latins were able to turn something into a wasteland and declare victory. Martyanov’s chronicle of the fate of contemporary Empire turns Tacitus upside down: before they will be able to turn everything into a wasteland, a counterpower will inflict them inexorable defeat. https://sonar21.com/a-wilderness-of-mirrors-the-hegemons-last-war/

Why the Khazarian Mafia Fears Vladimir Putin | VT Foreign Policy February 8, 2022 JEA: If you don’t think that the Khazarians aren’t in cahoots with the media to destroy Putin and indeed Russia, then think again. In 2017, Professor Eric Heinze of Queen Mary University (London) declared that Russia “spread antisemitism more widely and durably.” Heinze continued to say: “Russia’s state-directed antisemitism has historically taken more targeted, strategic forms — less frenzied nationalism than old-style imperialism. It has easily coexisted with Russian Jews holding positions of political or cultural prominence. And it has gone through phases: Soviets condemned Tsarist pogroms before turning antisemitism into a tool of their own.” Heinze is inexorably positing the unarticulated thesis that his brethren have and are being persecuted for what they are, not for what they do. Nothing could be further from the truth. For a cursory study of what happened in the past, I would highly recommend Erich Haberer’s Jews and Revolution in Nineteenth-Century Russia (Cambridge: Cambridge University Press, 1995) Albert S. Lindemann’s Esau’s Tears: Modern Anti-Semitism and the Rise of the Jews (Cambridge: Cambridge University Press, 1997), William W. Hagan’s Anti-Jewish Violence in Poland, 1914–1920 (Cambridge: Cambridge University Press, 2018), Israel Jacob Yuval’s Two Nations in Your Womb: Perceptions of Jews and Christians in Late Antiquity and the Middle Ages (Berkeley and Los Angeles: University of California Press, 2006), Elliott Horowitz’s Reckless Rites: Purim and the Legacy of Jewish Violence (Princeton: Princeton University Press, 2004), etc. …by Brother Nathanael Kapner The Khazarian controlled American media paints Vladimir Putin as an evil demagogue. Here is an example from Time Magazine’s A Tzar Is Born December 2007 article: — “No one is born with a stare like Vladimir Putin’s. His pale blue eyes are so devoid of emotion that the stare must have begun as someone who understood that power might be achieved by the suppression of ordinary needs, like blinking. Putin is unmistakably Russian with chiseled facial features and those penetrating eyes. One senses that Putin pays constant obeisance to a determined inner discipline. He is a believer and often reads the Bible.” — The Wall Street Journal also published The Perils Of Putinism scorning Putin for preserving “order and stability” which the Khazarian Media works against. The ‘political scientist’ Arnold Beichman published an article under the same title on Hoover Digest comparing Putin to Ivan the Terrible Here. But Vladimir Putin knows all about the Khazarian Cult. That is why in a November 2007 speech to Russian Military Cadets he said: — “There are those who would like to build a unipolar world who would like to rule all of humanity themselves.” — Here. Khazarians Fear Putin’s Vision of Russia IMMEDIATLY AFTER the inauguration of Putin’s chosen President Dmitri Medvedev on May 7 2008 a Russian Orthodox Church service followed. Medvedev, who admits being baptized “at a mature age” Here and who also denies rumours of being Jewish affirmed his commitment to the Church saying, “The state’s special relations with the Russian Orthodox Church will be maintained and further developed to the benefit of the Fatherland” Here. Just prior to this, Medvedev said in his April 27 2008 Easter Sunday Message, “The growing role of the Russian Orthodox Church opens new possibilities for the cooperation of the state and the Church in resolving current questions of the moral health of the nation in bringing up the young generation” Here. Putin sent his own message on Easter Sunday 2008 saying, “The state will continue to support the Church in all its work to enlighten the moral education of our citizens, strengthen the influence of family values, and consolidate unity in the Orthodox community.” Here. Immediately the Khazarian Media sprung into action with, “Putin’s message could deepen worries among Russians wary of efforts to press Russian Orthodox teachings on children.” But the only “Russians” that Putin’s message would worry are those who have been at war with the moral order since the beginning of time Here. Putin & Medvedev have already begun the enlightenment of the youth with a new Orthodoxy 101 Curriculum in Russian Public Schools. And this is what the Jews fear most. PUTIN OPPOSES THE ZIONIST AGENDA In Time Magazine’s Person Of The Year 2007 Interview With Putin, the War In Iraq and the threatened US War Against Iran were discussed: Time: What do you think should be done in Iraq? Putin: I said it was a mistake from the very beginning. Developments have proved that we were right. The US now believes it is impossible to impose time frames for a withdrawal. In my view if the Iraqis know that a deadline is there they would be more proactive. But this is a decision that we must make together at the level of the United Nations.” Time: What about a possible war against Iran by the US with regard to their alleged nuclear program? Putin: Any military action against Iran would be a mistake. Russia’s foreign-policy stance is guided by objective and verified data and intelligence.” THESE ARE ANSWERS that the Khazarians fear. Is it any wonder then that the Khazarian controlled Media paints Vladimir Putin as “Ivan The Terrible?” ATTENTION READERS We See The World From All Sides and Want YOU To Be Fully Informed In fact, intentional disinformation is a disgraceful scourge in media today. So to assuage any possible errant incorrect information posted herein, we strongly encourage you to seek corroboration from other non-VT sources before forming an educated opinion. About VT - Policies & Disclosures - Comment Policy Due to the nature of uncensored content posted by VT's fully independent international writers, VT cannot guarantee absolute validity. All content is owned by the author exclusively. Expressed opinions are NOT necessarily the views of VT, other authors, affiliates, advertisers, sponsors, partners, or technicians. Some content may be satirical in nature. All images are the full responsibility of the article author and NOT VT. https://veteranstoday.com/2022/02/08/why-the-khazarian-mafia-fears-vladimir-putin/

The Khazarian Mafia in Hollywood Jonas E. Alexis, Senior EditorOctober 25, 2022 by Jonas E. Alexis, VT Editor If you walk into the film industry and start interviewing people like Eli Roth, you will almost certainly hear incredible and bizarre things. Roth would tell you that he aspires to “fuck up an entire generation”[1] through movies. Roth and his brethren have been in the business for years, so they know the drill. Roth probably knows the story of Samson and Delilah. He probably knows that Samson’s lust darkened his mind and eventually sent him to his death.[2] Roth almost certainly knows that the best way to destroy the morals of his audience is to prey on their lust and appetite. That is why Roth’s brethren have spent years fighting against obscenity laws and pornography in the United States.[3] roth2 As Jewish scholar Nathan Abrams himself puts it, “Older generation of Jewish filmmakers and actors, here [Woody] Allen, [Stanley] Kubrick and [Ron] Jeremy, arguably not only increased the Jewishness of their work but updated it to match the new post-1990 sensibility by defining it in increasingly sexualized (and pornographic) terms.”[4] Abrams declared elsewhere that “Jewish involvement in porn” is actually “is the result of an atavistic hatred of Christian authority: they are trying to weaken the dominant culture in America by moral subversion.”[5] Another Jewish scholar by the name of Josh Lambert tells us that people like Larry David and Sarah Silverman “are challenging America’s powerful religious, family-friendly culture and asserting their Jewishness by glorifying obscenity.”[6] Yet David and Silverman are hardly the only people who are “glorifying obscenity” in Hollywood. David Cronenberg obviously beat them to the punch. Cronenberg got to the heart of the matter years ago by laying out his ideological weltanschauung in an interview with Rolling Stone this way: “Nothing is true. It’s not an absolute. It’s only a human construct, very definitely able to change and susceptible to change and rethinking. And you can then be free. Free to be unethical, immoral, out of society, and an agent for some other power, never belonging. “Ultimately, if you are an existentialist and you don’t believe in God and the judgment after death, then you can do anything you want: You can kill, you can do whatever society considers the most taboo thing.”[7] Cronenberg’s moral calculus here is logically and philosophically incoherent. If “nothing is true,” then Cronenberg’s statement that “nothing is true” is not true. In order for the statement to make sense, Cronenberg has to assume that it is true! And if it is true, then the “nothing is true” is categorically false, which means that his entire argument collapses. In short, Cronenberg is positing truth claims while denying truth exists! He is trapped in his own ideological matrix.[8] Living the incoherency of his system aside, Cronenberg is basically saying that you can only be free if you can come to the conclusion that nothing is true and that morality is, as philosopher Michael Ruse believes, “flimflam.”[9] But because he is morally and intellectually blind, Cronenberg could not realize that his axiom is self-defeating. Morality, as we all know, is inexorably linked to practical reason. It is also essential to esthetic truth and intellectual pursuit and honesty. As E. Michael Jones rightly puts it, “The intellectual life is a function of the moral life of the thinker. In order to apprehend truth, which is the goal of the intellectual life, one must live a moral life. One can produce an intellectual product, but to the extent that one prescinds from living the moral life, that product will be more a function of internal desire—wish fulfillment, if you will than external reality. This is true of any intellectual field and any deeply held desire.”[10] Truth, as Plato puts it, is like seeing things the way they really are.[11] And the practical reason (another word for morality) is one of the main tools for discovering metaphysical truth. Yet since Cronenberg dismisses practical reason in his ideological calculus, there was no way for him to make a logical point without falling into his own trap. In the process, he has become a monster, as one scholar has argued.[12] The Rolling Stone interviewer asked, “Does the artist have any moral or social responsibility?” Cronenberg: “No…Your responsibility is to be irresponsible. As soon as you talk about social or political responsibility, you’ve amputated the best limbs you’ve got as an artist. You are plugging into a very restrictive system that is going to push and pull and mold you and is going to make your art totally useless and ineffective.”[13] Cronenberg’s philosophy, scholar William Beard tells us, is “the disappearance of ethics.”[14] It is actually “a world of unimpeded desires without consequences, where ‘everything is permitted.’ Metaphorically, this is the world of violent video games, of indulgent Hollywood movies, and also of the transgressive, boundary-piercing cinema of David Cronenberg.”[15] No responsibility, no morality, no ethical values, and no limit, nothing but ultimate meaninglessness and existential hell in movies. Existence itself, as indicated in Cronenberg’s movie eXistenZ, means corruption, moral degradation, and ultimately pathetic death. The axiom of eXistenZ is that “nothing is true; everything is permitted.”[16] “Every time I kill someone in my movie,” says Cronenberg, “I’m rehearsing my own death…It’s an existential truth, it’s very raw and real.” Didn’t Cronenberg state that nothing was true? Why is he now smuggling in truth in his philosophical trap? Cronenberg, who has a “historic affinity with existentialism,”[17] is also playing with the lives of his viewers. He admits that eXistenZ is filled with “existential propaganda.”[18] Scholar William Beard comments: “The disappearance of stable theoretical foundations for human society and human values, the stark realization of the insignificant position of humanity in a material cosmos, the undermining of all kinds of knowledge about the world and ourselves, leaves the existential human subject without a clear guideline for living, with no certainty of anything but his or her own death…Culture, science, the whole edifice of modern European civilization are ineffectual in addressing the individual’s desperate plight.”[19] Once the existentialist denies metaphysical truth, he has to start creating his own “truth”: “From this, we must create ourselves as meaningful beings, and create the world as meaningful for ourselves. From this we must build up the new foundations of our own lives, adding other people, culture, history, and politics tentatively and fragmentedly as necessary…”[20] Existentialists like Cronenberg, says Beard, “cut individuals off from the fundamental questions of personal existence, and leave them alienated in a world crowded with facts but void of meaning.”[21] The philosophy of existentialism teaches Cronenberg that people “are all doomed to die and be swallowed up by Nothingness, but along the way, we may carve out a niche or ledge on the cliff…”[22] Therefore “science” and technology are meaningful if they can advance sexual desires and appetite.[23] It was no coincidence that Cronenberg seized technology in the information age to advance his appetite to a wider audience. He bragged that “technology is with us,”[24] meaning that he can use that kind of medium to get his essentially Freudian and therefore Talmudic ideas to unsuspecting viewers. Put simply, Cronenberg is indirectly reinventing what Nietzsche would have called the transvaluation of all values, which again states that morality is an illusion and that any culture which becomes docile to the moral order must be overthrown. But in order to do that, Cronenberg has to go back to his revolutionary roots, which is neither Western nor rational but essentially Talmudic or Freudian: “I think we start off with what Freud called a polymorphous perverseness.”[25] One can easily argue that this “polymorphous perverseness” is at the core of virtually every Cronenberg film. In fact, Cronenberg admitted that characters in movies like Crash, M. Butterfly, Naked Lunch, Dead Ringers, and Stereo, were “reinventing sexuality,”[26] which is another way of saying that Cronenberg’s characters were subverting the sexual order.[27] Cronenberg’s existential philosophy, Beard says, is “sexual or predatory, a drive, an appetite, that invokes Freud far more readily than the Sartre who heatedly rejected a Freudian view of life in which individuals were unfree prisoners of their psychic histories and hardwired desires.”[28] Cronenberg’s characters in eXistenZ, Beard continues, “seem to reproduce that quasi-Freudian sense that their individual freedom—a sacrosanct item of the existentialist creed—is compromised by appetites that are so powerful they are strongly impelled to do something ethically ugly. This happens to Pikul in the Chinese restaurant. He finds he wants to kill the waiter and is told by Geller that the impulse is part of his game character’s make-up and that he won’t be able to do anything to stop it.”[29] David and Brandon Cronenberg David and Brandon Cronenberg The interesting thing is that Cronenberg has successfully passed his essentially diabolical ideas to his son Brandon, who is now following the family tradition. That fact became quite obvious when David edited Brandon’s first feature film Antiviral,[30] which the Rolling Stone itself has described as “sickening,” and which has the same “disturbing obsession with bodies and technology that animates his father’s films, from The Fly and Dead Ringers to Videodrome and Existenz.”[31] The Rolling Stone reported, “The son was infected with his father’s own sense of cerebral horror, and he is not rebelling against it. ‘I wrestled with it at first,’ he says, ‘but you get affected by how you grow up….’”[32] Cronenberg, whether he likes it or not, should be called a Satanist precisely because he is anti-Logos.[33] But there is a bigger picture here. Cronenberg’s ideology has been transported to places like Japan as well. For example, one of Japan’s most controversial filmmakers is none other than Takashi Miike. Miike says that he is a fervent admirer of directors like David Lynch (Lost Highway), Paul Verhoeven (Basic Instinct), and of course David Cronenberg. These people are what one should call cultural subverters. Verhoeven meant it when he said: “As a director, my goal is to be completely open. Just look at how I portray sex in my films. They’re considered shocking and obscene because I like to carefully examine human sexuality. It has to be realistic.”[34] Verhoeven also declares that he has been “fascinated by the occult: black magic, UFOs, and kinetic energy. I also experimented with hypnotism, trying to get my friends to remember former lives.”[35] It was a natural step for Verhoeven to move from an interest in the occult to bringing his viewpoint to life in films. Turning from the unknown and unknowable, Verhoeven replaced his own ideology with reality: “My films became my anchor to reality, and I began to make extremely realistic movies. I felt compelled to show things as explicitly as possible—a tendency which many film critics have dismissed as banal.”[36] Verhoeven applied this tendency most often to the area of sexuality, explicitly portraying sex in movies like Showgirls, Basic Instinct, Turkish Delight, and The Fourth Man. Yet even in RoboCop, which in comparison has little sexuality, Verhoeven’s worldview is clear—this time he is substituting Logos incarnate with his own imagination: “It’s pure resurrection. For me, RoboCop is a Cytale. First, Murphy is gunned down in the most horrific way: that is Crucifixion. And it has to be so violent because the audience has to remember him. “Before that, he has not done anything in the film. He comes to the police station to put on his uniform, then he goes after the villains with his partner, and bang! he is dead. That shooting is the only thing about him—I did that deliberately. “Next, the film makes a steep descent into the finite, after which he experiences his Resurrection, in a modern-day…RoboCop is a Jesus figure—an American Jesus…Americans want to be humane, but if they think it takes too long, Christian morality is pushed aside for the moment and they go for their weapons—just like Robocop.”[37] Biographer Rob van Scheers writes, “Both in his films and in his personal life, Paul Verhoeven has always practiced a free sexual morality of which he makes no secret…Verhoeven would add in the gay magazine The Advocate: ‘Sex is a form of play—doing what you did when you were four or five years old and were playing in the street with your friends. Once you are grown up, it is difficult to be playful, but one of the ways you can is with sex. It is a way of showing yourself: That’s how I’m made. This is what I like.”[38] Takashi Miike and Eli roth Takashi Miike and Eli roth In short, Verhoeven and Takashi Miike are on the same subversive boat. Both individuals want to overthrow the moral order. Eli Roth and Takashi Miike are also in the same boat, working to “fu$k an entire generation.” Of course, Roth himself admitted that he admires Miike’s work. In fact, Roth would have loved to make Ichi the Killer 2. Keep in mind that Ichi the Killer is one of Miike’s “most controversial films,” an “ultra-violent” film that portrays “sadomasochistic” scenes. Miike admits in an interview with the BBC that he is a “feminist,” so it was inevitable that he would pull this ideology out of his film. “Miike has garnered international notoriety for depicting shocking scenes of extreme violence and sexual perversions…” Of course, this is exactly what Eli Roth and David Cronenberg have been doing for years. What we are seeing here is that Hollywood stirred the subversive pot, and other nations such as Japan and South Korea followed suit. Even the new South Korean movie, Train to Busan, “borrows heavily from World War Z in its depiction of the fast-moving undead masses while also boasting an emotional core the Brad Pitt-starring extravaganza often lacked.”[39] If no social progress is possible outside the moral order, then Satanists in Hollywood are contributing to the demise of social docility and cultural harmony around the world. The solution? A return to practical reason and metaphysical Logos, the essence of true creativity and beauty. Movies such as The Lord of the Rings were written under those premises. As Israel Shamir rightly points out, Logos is “the main fountain of creativity.” Shamir also argues that true visual art or poetry simply cannot exist outside of Logos.[40] If Satanists in Hollywood reject “the main fountain of creativity,” then they can only produce degradation, ugliness, meaninglessness, despair, and ultimate chaos and confusion. It was only a matter of time before the art world was used as a weapon against Logos: “A photograph of a crucifix in a container of urine, entitled Piss Christ, was exhibited in the Whitney Museum, which is headed by a great friend of [former Israeli Prime Minister] Ariel Sharon, a member of Mega, Leonard Lauder.”[41] This is one reason why people like Carolee Schneemann use nothing but blatant sadistic/ sadomasochistic sexual imagery in their “art.” First published in October 2016. Citations [1] Quoted in Stuart Dredge, “Netflix series Hemlock Grove: ‘People want their horror horrific,’ says Eli Roth,” Guardian, April 10, 2013. [2] See E. Michael Jones, The Jewish Revolutionary Spirit and Its Impact on World History (South Bend: Fidelity Press, 2008), 1054-1056. [3] See Josh Lambert, Unclean Lips: Obscenity, Jews, and American Culture (New York: New York University Press, 2014). [4] Nathan Abrams, The New Jew in Film: Exploring Jewishness and Judaism in Contemporary Cinema (New Brunswick: Rutgers University Press, 2012), 72. [5] Nathan Abrams, “Triple-exthnics,” Jewish Quarterly, Winter 2004. [6] Josh Lambert, “‘Dirty Jews’ and the Christian Right,” Haaretz, February 3, 2014. [7] David Breskin, “David Cronenberg: The Rolling Stone Interview,” Rolling Stone, February 6, 1992: 66-70. [8] It is almost the same thing with relativism. I have been listening to an interview E. Michael Jones did with Alex Fontana during which Fontana declared that he doesn’t know if he agrees with “objective reality.” He then lays out his position by saying, “I guess I am a relativist.” I was completely stunned because during the entire interview Fontana was basically dissecting some ideas in the culture and implicitly arguing that they were wrong! Fontana could not see that there is no way to adjudicate two fundamentally opposite ideas if relativism is true. I was also shocked because relativism has been abandoned by serious thinkers years ago precisely because it is devoid of coherency and rigor. This is why Jones told him that relativism “is incoherent. It makes no sense ultimately.” I have discussed the incoherency of relativism in numerous articles. An example can be found here. [9] Michael Ruse, “God is dead. Long live morality,” Guardian, March 15, 2010. [10] E. Michael Jones, Degenerate Moderns: Modernity as Rationalized Sexual Misbehavior (South Bend: Fidelity Press, 2012), 15. [11] Plato, The Republic (New York: Oxford University Press, 1993), 116. [12] See for example William Beard, The Artist as Monster: The Cinema of David Cronenberg (Toronto: University of Toronto Press, 2006). [13] Breskin, “David Cronenberg: The Rolling Stone Interview,” Rolling Stone, February 6, 1992: 66-70. [14] William Beard, The Artist as Monster: The Cinema of David Cronenberg (Toronto: University of Toronto Press, 2006), 434. [15] Ibid., 443. [16] Ibid., 434 [17] Ibid., 429. [18] Ibid., 430. [19] Ibid., 430-431. [20] Ibid., 431. [21] Ibid. [22] Ibid., 433. [23] Ibid., 430. [24] Ibid., 446. [25] Breskin, “David Cronenberg: The Rolling Stone Interview,” Rolling Stone, February 6, 1992: 66-70. [26] Beard, Artist as Monster, 452. [27] Beard goes into great detail of this. See pages 452-453, 455-456. [28] Beard, Artist as Monster, 433. [29] Ibid., 434. [30] Bruce Kirkland, “Brandon Cronenberg brings first feature film ‘Antiviral’ home,” Toronto Sun, September 9, 2012. [31] Logan Hill, “’Antiviral’ Explores Sickness of Celebrity Culture,” Rolling Stone, April 10, 2013. [32] Ibid. [33] For a dissertation on this, see E. Michael Jones, “The Great Satan and Me: Reflections on Iran and Postmodernism’s Faustian Pact,” Culture Wars, July/August 2015. [34] Rob van Scheers, Paul Verhoeven (London: Faber & Faber, 1997), 159-161. [35] Paul Verhoeven, Jesus of Nazareth (New York: Seven Stories Press, 2010), xi, 5. [36] Ibid., 6. [37] Van Scheers, Paul Verhoeven, 195. [38] Ibid., 258. [39] Clark Collis, “Train to Busan: EW review,” Entertainment Weekly, July 22, 2016. [40] Israel Shamir, Cabbala of Power (Charleston, SC: BookSurge, 2007), 153. [41] Ibid., 150. ATTENTION READERS We See The World From All Sides and Want YOU To Be Fully Informed In fact, intentional disinformation is a disgraceful scourge in media today. So to assuage any possible errant incorrect information posted herein, we strongly encourage you to seek corroboration from other non-VT sources before forming an educated opinion. About VT - Policies & Disclosures - Comment Policy Due to the nature of uncensored content posted by VT's fully independent international writers, VT cannot guarantee absolute validity. All content is owned by the author exclusively. Expressed opinions are NOT necessarily the views of VT, other authors, affiliates, advertisers, sponsors, partners, or technicians. Some content may be satirical in nature. All images are the full responsibility of the article author and NOT VT. https://veteranstoday.com/2022/10/25/the-khazarian-mafia-in-hollywood/

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